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STENCILS 

AND 

STENCIL 
MATERIALS 




m 



NO. 7050 



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The Sherwin-Williams Cb 
Decorative Department 

60/ CAA/AL ROAD 
CLEVELAND, O. 



IIIIIIII1I1 




INTERNATIONAL 



Digitized by 

The Association for Preservation Technology International 

For the 

Building Technology Heritage Library 

http://archive.org/details/buildinqtechnologyhehtaqelibrary 



STENCILS AND 

STENCIL 

MATERIALS 



The Sherwin-Williams Co. 

DECORATIVE DEPARTMENT 

601 CANAL ROAD 
CLEVELAND, O. 



Stenciling: Complete Working Instructions 



AS few surfaces now decorated 
uk with the modern, flat orblend- 
JL jL ed wall finishes are complete 
without the finishing touch produced 
with the stencil, we have compiled 
working instructions in a concise, but 
comprehensive form, showing the 
methods involved, step by step, so 
that the stencil can be rightly used by 
anyone. 

The stencil patterns shown in the 
illustrations are typical of the various 
kinds of stencils which can be sup- 
plied. If the Sherwin-Williams 
dealer does not carry the selected 




Illustration I— The design is applied to the wall through the 
openings of the cut stencil 

_ patterns, they may be ordered through the 
Decorative Department, The Sherwin-Williams Co., 601 Canal Road, Cleveland; Ohio. 



SECTION I — Kinds of Stencils 

Stencils are of two kinds: 

1. The Solid Stencil is that in which the whole pattern is cut out and which produces 
a complete design, as Illustration I. F 

2. The Outline Stencil is only the drawing or the outline— as the name implies— 
of the decoration. (See Illustration IV.) The filling in, to complete the border or design 
must be done by hand. (See Illustration V, VI, and VII.) ' 

A solid stencil may be produced in one or more colors with one or more parts Illus 
tration I shows a solid stencil in one part, applied in one color. Illustration II* shows 
a solid stencil in two parts and applied in two colors. (See also Illustration X) 

An outline stencil does not give a finished or completed decoration, but requires 
the additional work of filling in by hand after the outline is applied to the surface and is 
thoroughly dry. 

SECTION II — Correct Use of Stencil 

The stencil should be held flat against the surface to be decorated. If necessarv 
a few thumb-tacks can be used to hold the stencil firmly in position These will not 
injure the wall Apply the colors through the opening of the stencil to the exposed 
surface as in Illustration III. Use the regular stencil brush and work the color into the 
surface with a rotary motion, making the brush help hold down the stencil while it is ap- 
plying the color. A small stencil may be held in position with one hand. (Illustration I) 

Use a regular stencil brush. It should be clean and in good condition. A short bristle 
brush is best, as the color can be rubbed into the surface to be decorated without having 
the bristles spread or work under the stencil. The brushes are made in various sizes 
the smaller size being more suitable for the smaller stencils. A brush one inch and a 
half in diameter is best for regular stencil work. 

SECTION III — 
Stencil Paint and Its Preparation 

S-W Flat-Tone Glaze and Stencil 
Colors should be used for the oil painted 
stencil work and S-W Distemper 
Fresco Colors or S-W Decotint for 
surfaces finished with a water-mixed 
preparation. 

S-W Glaze and Stencil Colors have 
great tinting quality, being made up 
in the full strength of the various 
colors: i. e., S-W Glaze and Stencil 

Illustration II— Leaf part of stencil has been previously r^1^,- T?™^-^1^I n~ ' •• i 

applied. Grapes are then stenciled in another color Color Emerald Ureen gives a rich, 





Illustration III— Hold the 

brush up straight against 

the stencil 



dull, intense emerald hue, not a weak light or grayed hue. 
Very little paint, therefore, is required for the tinting of white, 
which is often used as the base for the stencil color. 

To Reduce Strength of Color — Follow one of the methods out- 
lined here: First, addition of Stencil White; second, addition 
of Glazing Liquid and oil; third, addition of a proper mixture 
of turpentine, oil and drier. The addition of the materials under 
second and third, also thins the color. The Stencil Colors, as 
they come from the tubes, are often too dark to use on the wall 
color. Reduction to give a lighter tint is therefore necessary. 
Caution — Too much liquid of any kind should be avoided when 
thinning the color. Always try out the brush either on the 
pallette or stencil sheet to find if it is working properly. 
Nor should the mixture be too thick, for the color would then work out darker 
and heavier in spots. 

Mixing Colors — It is often advisable to mix two or more colors to secure the desired 
color. It is often necessary to add Stencil White to the color or mixed colors, to produce 
a lighter tint or to secure a uniform shade. The addition of white is not always advised, 
for a clear, transparent color is frequently necessary. However, when the clear color is 
used with the addition of either the Glazing Liquid or the mixture of turpentine, oil and 
drier, care must be taken to apply it in the same uniform strength to keep the same color 
throughout the border. 

SECTION IV— Filling in the Outline 

The outline, as Illustration IV 
shows, is produced with a dark color. 
When this is thoroughly dry, the 
tinting colors are applied with the 
regular flat or round sable brushes. 
The tinting color for this part of the 
work, Illustration V, must be thinner 
than for the stencil work. The paint 
should be thinned either with the 
Glazing Liquid or the mixture of 
turpentine, etc, so that it can be 
easily flowed over the surface. The 
color should not be run out over the 
outline and when a background color 
is used for the border, it should be so 
applied that it will not run into other 
colors used. (Illustration VI). Wiping 
to give high-lights on any part of the drawing, should be done with cheesecloth 
or similar material before the tinting color has set. (Illustration VII). Blending 
is possible in outline borders, and portions of the design can be accentuated by 
introducing shadows after all color work is done and is dry. 

SECTION V— Blending 

In a solid stencil border it is at times desirable to show a blending from one color 
into another. Illustrations VIII and X explain the process. 

Use a separate brush for each color. Apply the darker, heavier color first — 
(Illustration VIII) — over such portions of the pattern as are to be tinted with that color. 
Where it is to blend into the next color, use the first color rather lightly, as indicated in 
Illustration VIII. Then with second brush and second color, tint that portion of 
the border, apply lightly over the edge of the first color, producing the effect as Illustra- 
tion IX shows. Illustration X shows the border complete, but in three colors. In addi- 
tion to the brushes required for each color, another brush can be used for the blending 
of the two colors. This will keep each brush and each color pure and make cleaning 
unnecessary. Blending is not essential. In fact, too much blending may produce 
a spotted effect. The most attractive stencil decoration is that in which the tone of 
the background is slightly evident through the colors of the border. A tinted effect 
and not a painted one is desired. 




Illustration YI — Painting the background 




SECTION VI — 

The Selection of the Stencil 

Select a small, simple border for 
small low-ceilinged rooms and apply 
the stencil in a simple color combina- 
tion. Large borders, which permit of 
more intricate design and color, are 
best in the public buildings where 
ceilings are high and wall spaces un- 
broken. Select stencil patterns 
which will correspond in design to 
the style of furnishings used. If no 
particular style prevails, or when the kind of furnishings to be introduced is not known, 
select a stencil which suggests no particular style or decorative period. 



Illustration IV— The Outline Stencil 



SECTION VII— The Placing of the Stencil 

Stencils of the type shown in Illustration I give no difficulty to the worker. The 
border can be begun at one corner and carried around until the wails are covered. With 
patterns such as Illustration X shows, more care must be exercised in the placing. The 
full-blown flower should be centered to correspond, for example, with the center of the 
fire-place, the center of the built-in buffet, or, when possible, with the center of the 
doorway. For that reason it will be 
necessary to begin at the center of 
each wall or at the center of the above- 
named features and work toward the 
corners. The portion just next to the 
corners can be filled in with the leaf 
part of the stencil. Such a plan 
should be followed in the single motif 
stencil when the motifs are connected 
with binders or stripes. 



# 



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Illustration V— Painting fruit after outline has be 



applied 



Handling of Corners — On many of 
the large borders it is not desirable to 
finish each corner as the work is under- 
taken, since the handling required 
to bend the stencil to fit the corner may injure the stencil. Work as 
closely to the corner as is possible without bending the stencil. This 
does not mean not curving the stencil. Then carefully measure the space from the 
corner to the portion last applied and lay off that distance on the stencil, marking that 
particular part as corner one. Then lay off almost an equal distance on the other side 

of that point on the stencil and the 

SBSShBBHK same distance on the next wall. Place 
that particular mark on the wall and 
proceed to stencil. 

When the work is finished, the 
four corners will not be stenciled, but 
four corners will be marked on the 
stencil pattern. The stencil can be 
bent carefully for each corner and the 
work finished. To bend the stencil so 
that it will fit into the corner, place 
the stencil on a table with a straight 
edge and carefully bend over its edge 
that part of the stencil which is the 
shorter end and just at the point 
marked corner one, then finish corner 
one and so on. To have the stencil in the right angle for the wall it will be necessary to 
mark the back of the stencil at the corner marks, lay the stencil face downward and then 




Illustration VII — Showing how high-lights can be picked 

out of any part immediately after application 

of color. 





bend over the edge of the table as above described. When the stencil is then held up 
with the face toward one it will have the same position as the corner of the room. 

Trimming of Stencils — As a rule the sten- 
tjj r* cils are furnished with a upper straight edge — 
(Illustration III) — but if it is necessary to cut 
down any part of the stencil, the straight edge 
should be retained or an edge cut that is 
parallel with either the top of the stencil de- 
, sign or with a line which runs through the 

Illustration VIII— First stencil in the dark shadows .° ;1 _,. _„ 

of the flower stencil pattern. 

Stencil Guides — When a stencil design is 
cut in two or more parts, each part is furnished 
with guides which will assist the worker in 
matching up the various parts to complete the 
border decoration properly. 

Illustration IX— Then complete the flower in its, SLd 1 1UJN VI 11 

natural color 

The Color or Combination of Colors 

Use colors in the stencil border or decora- 
tion which will be harmonious with the wall 
finish. On a dark wall color, low-toned tints 
in the border will be advisable, while on the 
lighter ground, lighter colors will need to be 
employed. On the small borders stronger 
illustration x— Th « 1 }^^ e then stenciled in co i or e flFects are, however, possible, while the 

larger designs, having the greater amount of 
wall space, will need to be kept in harmony of analogy or harmony of contrast with the 
background color. When two or more colors are blended into each other; the blending 
must be gradual and harsh contrasts avoided. 

STENCIL RULES 

The selection as well as the proper placing of the stencil pattern to conform to the 
construction of the room, divisions, etc., is in itself a study. We feel the need of giving 
fundamental rules regarding just this feature of decorating, as the improper placing has 
often been called to our attention. 

Rule 1 — Use size of borders which will correspond to the proportion of the room. 
Smaller borders are necessary in the low-ceilinged room, while the larger designs are 
required in public interiors where the ceilings are often from twelve to fifteen feet high. 

Rule 2 — Select the character of the pattern which will conform to the character of 
the room, as for instance, employ the more conventional designs in those rooms which 
are constructed along the severe type, while the more floral patterns are suitable in those 
rooms where other features give a suggestion of beauty of line. 

Rule 3 — Do not use a simple stencil border in a room which is to be decorated and 
furnished in a most elaborate style, and vice versa, do not use an elaborate border in a 
simply decorated and furnished room. 

Rule 4 — Do not attempt to introduce a stencil border when the wall is of such a 
character that a pattern will only detract from the appearance. This is true with the wall 
which is so much broken and cut up by window and door spaces, other fixtures, 
etc., that unless the stencil is especially designed for that particular room, it cannot be 
used with any great amount of freedom. Panel work in some cases is advisable under 
such conditions but special stencil patterns must be designed for this work. We are in a 
position to make special stencils at any time. 

Rule 5 — The color for the stencil has been handled under Section VIII. As a rule, 
stronger colors are best for small borders. For the larger borders colors which harmonize 
with the wall color to a greater extent, are desirable. 



Decorative borders are pleasing with plain wall tints 







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No. Size Price No. Size Price 

4 °19- 16 in. high $1.50 96... _. ±y 2 in. high % .80 

501 5- 12 in. high 1.50 1057 \iy 2 in. high 1.25 

1Q 52 6X in. high 80 13 n% in. high 1.25 

7050 Oval Medallion Stencil shown on cover 6 in. high 1 50 



The outline stencil permits of variety in color combination 







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18-R 15 in. high $1.30 

7020 4^ in. high 75 

9._ 6 in. high 60 

100-R 13# in. high 1.15 

92 $y 2 in. high 75 



No. 



Size 



Price 



104-R 6 in. high $1.50 

1041-Y 4 in. high 90 

1048 ny 2 in. high 1.25 

108-R. 9 in. high 1.50 



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Color suggestions for stencils will be furnished upon request 










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155-R 6H in. high 1.15 

7004 4}4 in. high 75 



900- Y /> 6 in. high 1.00 

7002 /..„ 6K in. high„„ 1.50 



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These stencils are especially suitable for church and auditorium 




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No. 



Size 



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44 10 in. high.. $2.00 

517 24K in. high 2.50 

5003 8 in. high 80 

512 6H in, high .50 

500 6 in. high 60 



511 5 in. high..... ..$ .45 

3017 8 in. high „ 1.00 

822. 11# in. high _ 2.00 

701 2]/ 2 in. high 25 

5011 18 in. high 3.50 



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Special stencils will be cut upon request. Estimates furnished 




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No. 



Size 



Price No. 



Size 



Price 



3005 12 in. high $1.00 3077 11 in. high... $1,25 

8 7K in. high 90 3009 11 in. high 1.50 



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..3 in. high $ .75 

„2# in. high .75 

..4 in. high. .50 

.iy 2 in. high .45 



No. 

7006 

4008 

1054 

2607 

7007 ., Z}4 in. high .75 

113 3 in. high 50 



No. 
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116.. 
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Size Price 

3 in. high $ .30 

.2}4 in. high .25 

A}4 in. high... 30 

\y 2 in. high 25 

..3# in. high 30 



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Fruit and flower borders can be produced with the stencil 



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No. Size Price No. Size Price 

107-R ±% in. high..... $1.20 118 5^ in. high „.$ .60 

19- Y 3X in. high 80 7008 2# in. high 45 

39- Y 3 in. high 60 7009 2% in. high 50 

2-R .^.SZZSmr&g&e. 75 20- Y 3 in, high. 60 

7000.... .......X..3X in. high 75 4020 3^ in. high 50 

109„ 1 5 in. high... 85 5 5 in. high .75 

18-Y„ ../. 4 in. high 50 

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No. Size Price 

009 8 in. high $1.00 

127 J! in. high 40 

4012.„„ 7 in, high 1.50 

5002-Y 6}4 in. high 75 

5002 9 in. high 1.00 

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No. 

7010 

131..... 
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Size 



Price 



. \}4 in. high $ .35 

.10 in. high....... 1.00 

. 6 in. high 90 

.70 




Stencils are of value in decorating the public interior 




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An order for Pattern No. 47 will include Pattern No. 47-B. 

Pattern No. 47-B can be ordered separately, but an order for No. 47 means the whole design, 47 and 47-B. 



No. 

47 14 

47-B 6 

3043 10 

98-Y 15 



Size Price 

in. high $3.00 

in. high. 1.00 

in. high 80 

in. high 90 

15 



No. 



Size 



Price 



7012 - $y 2 in. high $ .75 

3111 15 in. high... 4.00 

1047 ; 14K in. high 1.50 

3028 (Border part) 5 Y A in. high 1.25 



B241 A18 483 



16 




B241 Gov. B18 484